Postmodernism and Consumer Society

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Fredric Jameson

Postmodernism and Consumer Society
in ders.: The Cultural Turn. Selected Writings on the Postmodern 1983-1998. Verso, London, 1998; S.1-20

The concept of postmodernism is not widely accepted or even understood today. Some of the resistance to it may come from the unfamiliarity of the works it covers, which can be found in all the arts: the poetry of John Ashbery , for instance, as well as the much simpler talk poetry that came out of the reaction against complex, ironic, academic modernist poetry in the 1960s; the reaction against modern architecture and in particular against the monumental buildings of the International Style; the pop buildings and decorated sheds celebrated by Robert Venturi in his manifesto Learning from Las Vegas; Andy Warhol, pop art and the more recent Photorealism; in music, the moment of John Cage but also the later synthesis of classical and 'popular' styles found in composers like Philip Glass and Terry Riley, and also punk and new wave rock with such groups as the Clash, Talking Heads and the Gang of Four; in film, everything that comes out of Godard - contemporary vanguard film and video - as well as a whole new style of commercial or fiction films, which has its equivalent in contemporary novels, where the works of William Burroughs, Thomas Pynchon arid Ishmael Reed on the one hand, and the French new novel on the other, are also to be numbered among the varieties of what can be called postmodernism.

This list would seem to make two things clear at once. First, most of the postmodernisms mentioned above emerge as specific reactions against the established forms of high modernism, against this or that dominant high modernism which conquered the university , the museum, the art gallery netWork and the foundations. Those formerly subversive and embattled styles - Abstract Expressionism; the great modernist poetry of Pound, Eliot or Wallace Stevens; the International Style (Le Corbusier, Gropius, Mies van der Rohe); Stravinsky; Joyce, Proust and Mann - felt to be scandalous or shocking by our grandparents are, for the generation which arrives at the gate in the 1960s, felt to be the establishment and the enemy - dead, stifling, canonical, the reified monuments one has to destroy to do anything new. This means that there will be as many different forms of postmodernism as there were high modernisms in place, since the former are at least initially specific and local reactions against those models. That obviously does not make the job of describing postmodernism as a coherent thing any easier, since the unity of this new impulse - if it has one - is given not in itself but in the very modernism it seeks to displace.

The second feature of this list of postmodernisms is the effacement of some key boundaries or separations, most notably the erosion of the older distinction between high culture and so - called mass or popular culture. This is perhaps the most distressing development of all from an academic standpoint, which has traditionally had a vested interest in preserving a realm of high or elite culture against the surrounding environment of philistinism, of schlock and kitsch, of TV series and Reader's Digest culture, and in transmitting difficult and complex skills of reading, listening and seeing to its initiates. But many of the newer postmodernisms have been fascinated precisely by that whole landscape of advertising and motels, of the Las Vegas strip, of the Late Show and B-grade Hollywood film, of so-called paraliterature with its airport paperback categories of the gothic and the romance, the popular biography, the murder mystery and the science fiction or fantasy novel. They no longer 'quote' such 'texts' as a Joyce might have done, or a Mahler; they incorporate them, to the point where the line between high art and commercial forms seems increasingly difficult to draw.

A rather different indication of this effacement of the older categories of genre and discourse can be found in what is sometimes called contemporary theory. A generation ago there was still a technical discourse of professional philosophy - the great systems of Sartre or the phenomenologists, the work of Wittgenstein or analytical or common language philosophy - alongside which one could still distinguish that quite different discourse of the other academic disciplines - of political science, for example, or sociology or literary criticism. Today, increasingly, we have a kind of writing simply called 'theory' which is all or none of those things at once. This new kind of discourse, generally associated with France and so-called French theory , is becoming widespread and marks the end of philosophy as such. Is the work of Michel Foucault, for example, to be called philosophy, history, social theory or political science? It's undecidable, as they say nowadays, and I will suggest that such 'theoretical discourse' is also to be numbered among the manifestations of postmodernism.

Now I must say a word about the proper use of this concept: it is not just another word for the description of a particular style. It is also, at least in my use, a periodizing concept whose function is to correlate the emergence of new formal features in culture with the emergence of a new type of social life and a new economic order - what is often euphemistically called modernization, post-industrial or consumer society, the society of the media or the spectacle, or multinational capitalism. This new moment of capitalism can be dated from the post-war boom in the United States in the late 1940s and early 19S0s or, in France, from the establishment of the Fifth Republic in 1958. The 1960s are in many ways the key transitional period, a period in which the new internationalorder (neo-colonialism, the Green Revolution, computerization and electronic information) is at one and the same time set in place and is swept and shaken by its own internal contradictions and by external resistance. I want here to sketch a few of the ways in which the new postmodernism expresses the inner truth of that newly ernergent social order of late capitalism, but will have to limit the description to only two of its significant features, which I will call pastiche and schizophrenia; they will give us a chance to sense the specificity of the postmodernist experience of space and time respectively.

Pastiche Eclipses Parody
One of the most significant features or practices in postmodernism today is pastiche. I must first explain this term (from the language of the visual arts), which people generally tend to confuse with or assimilate to that related verbal phenomenon called parody. Both pastiche and parody involve the imitation or, better still, the mimicry of other styles and particularly of the mannerisms and stylistic twitches of other styles. It4 cis obvious that modem literature in general offers a very rich field for parody, since the great modem writers have all been defined by the invention or production of rather unique styles: think of the Faulknerian long sentence or of D. H. Lawrence's characteristic nature imagery; think of Wallace Steven's peculiar way of using abstractions; think also of mannerisms of the philosophers, of Heidegger for example, or Sartre; think of the musical styles of Mahler or Prokofiev. All of these styles, however different from one another, are comparable in this: each is quite unmistakable; once one of them is leamed, it is not likely to be confused with something else.

Now parody capitalizes on the uniqueness of these styles and seizes on their idiosyncrasies and eccentricities to produce an imitation which mocks the original. I won't say that the satiric impulse is conscious in all forms of parody: in any case, a good or great parodist has to have some secret sympathy for the original, just as a great mimic has to have the capacity to put himself/herself in the place of the person imitated. Still, the general effect of parody is - whether in sympathy or with malice - to cast ridicule on the private nature of these stylistic mannerisms and their excessiveness and eccentricity with respect to the way people normally speak or write. So there remains somewhere behind all parody the feeling that there is a linguistic norm in contrast to which the styles of the great modemists can be mocked.

But what would happen if one no longer believed in the existence of normallanguage, of ordinary speech, of the linguistic norm (the kind of clarity and communicative power celebrated by Orwell in his famous essay 'Politics and the English Language', say)? One could think of it in this way: perhaps the immense fragmentation and privatization of modern literature - its explosion into a host of distinct private styles and mannerisms - foreshadows deeper and more general tendencies in social life as a whole. Supposing that modern art and modernism - far from being a kind of specialized aesthetic curiosity - actually anticipated social developments along these lines; supposing that in the decades since the emergence of the great modern styles society had itself begun to fragment in this way, each group coming to speak a curious private language of its own, each profession developing its private code or idiolect, and finally each individual coming to be a kind of linguistic island, separated from everyone else? But then in that case, the very possibility of any linguistic norm in terms of which one could ridicule private languages and idiosyncratic styles would vanish, and we would have nothing but stylistic diversity and heterogeneity.

That is the moment at which pastiche appears and parody has become impossible. Pastiche is, like parody, the imitation of a peculiar or unique style, the wearing of a stylistic mask, speech in a dead language: but it is a neutral practice of such mimicry, without parody's ulterior motive, without the satirical impulse, without laughter, without that still latent feeling that there exists something normal compared with which what is being imitated is rather comic. Pastiche is blank parody, parody that has lost its sense of humour: pastiche is to parody what that curious thing, the modern practice of a kind of blank irony, is to what Wayne Booth calls the stable and comic ironies of the eighteenth century.1

The Death of the Subject
But now we need to introduce a new piece into this puzzle, which may help to explain why classical modernism is a thing of the past and why postmodernism should have taken its place. This new component is what is generally called the 'death of the subject' or, to say it in more conventionallanguage, the end of individualism as such. The great modernisms were, as we have said, predicated on the invention of a personal, private style, as unmistakable as your fingerprint, as incomparable as your own body. But this means that the modernist aesthetic is in some way organically linked to the conception of a unique self and private identity, a unique personality and individuality, which can be expected to generate its own unique vision of the world and to forge its own unique, unmistakable style.

Yet today, from any number of distinct perspectives, the social theorists, the psychoanalysts, even the linguists, not to speak of those of us who work in the area of culture and cultural and formal change, are all exploring the notion that this kind of individualism and personal identity is a thing of the past; that the old individual or individualist subject is 'dead'; and that one might even describe the concept of the unique individual and the theoretical basis of individualism as ideological. There are in fact two positions on all this, one of which is more radical than the other. The first one is content to say: yes, once upon a time, in the classic age of competitive capitalism, in the heyday of the nuclear family and the emergence of the bourgeoisie as the hegemonic social class, there was such a thing as individualism, as individual subjects. But today, in the age of corporate capitalism, of the so-calIed organization man, of bureaucracies in business as weIl as in the state, of demographic explosion - today, that older bourgeois individual subject no longer exists.

Then there is a second position, the more radical of the two - what one might call the poststructuralist position. It adds: not only is the bourgeois individual slJbject a thing of the past, it is also a myth; it never really existed in the first place; there have never been autonomous subjects of that type. Rather, this construct is merely a philosophical and cultural mystification which sought to persuade people that they 'had' individual subjects and possessed some unique personal identity.

For our purposes, it is not particularly important to decide which of these positions is correct (or rather, which is more interesting and productive). What we have to retain from all this is rather an aesthetic dilemma: because if the experience and the ideology of the unique self, an experience and ideology which informed the stylistic practice of classical modernism, is over and done with, then it is no longer clear what the artists and writers of the present period are supposed to be doing. What is clear is merely that the older models - Picasso, Proust, T. S. Eliot - do not work any more (or are positively harmful), since nobody has that kind of unique private world and style to express any longer. And this is perhaps not merely a 'psychological' matter: we also have to take into account the immense weight of seventy or eighty years of classical modernism itself.This is yet another sense in which the writers and artists of the present day will no longer be able to invent new styles and worlds - they've already been invented; only a limited number of combinations are possible; the unique ones have been thought of already. So the weight of the whole modernist aesthetic tradition - now dead - also 'weighs like a nightmare on the brain of the living', as Marx said in another context.

Hence, once again, pastiche: in a world in which stylistic innovation is no longer possible, all that is left is to imitate dead styles, to speak through the masks and with the voices of the styles in the imaginary museum. But this means that contemporary or postmodernist art is going to be about art itself in a new kind of way; even more, it means that one of its essential messages will involve the necessary failure of art and the aesthetic, the failure of the new, the imprisonment in the past.

The Nostalgia Mode
As this may seem very abstract, I want to give a few examples, one of which is so omnipresent that we rarely link it with the kinds of developments in high art discussed here. This particular practice of pastiche is not high-cultural but very much within mass culture, and it is generally known as the 'nostalgia film , (what the French neatly call la mode rétro - retrospective styling). We must conceive of this category in the broadest way. Narrowly, no doubt, it consists merely of films about the past and about specific generational moments of that past. Thus, one of the inaugural films in this new 'genre' (if that's what it is) was Lucas's American Graffiti, which in 1973 set out to recapture all the atmosphere and stylistic peculiarities of the 1950s United States: the United States of the Eisenhower era. Polanski's great film Chinatown (1974) does something sirnilar for the 1930s, as does Bertolucci's The Conformist (1969) for the Italian and European context of the same period, the fascist era in Italy; and so forth. We could go on listing these films for some time. But why call them pastiche? Are they not, rather, work in the more traditional genre known as the historical film - work which can more simply be theorized by extrapolating that other well-known form, the historical novel?

I have my reasons for thinking that we need new categories for such films. But let me first add some anomalies: supposing I suggested that Star Wars (George Lucas, 1977) is also a nostalgia film. What could that mean? I presume that we can agree that this is not a historical film about our own intergalactic past. Let me put it somewhat differently: one of the most important cultural experiences of the generations that grew up from the 1930s to the 1950swas the Saturday afternoon serial of the Buck Rogers type - alien villains, true American heroes, heroines in distress, the death ray or the doomsday box, and the cliff-hanger at the end whose miraculous solution was to be witnessed next Saturday afternoon. Star Wars reinvents this experience in the form of a pastiche; there is no point to a parody of such serials, since they are long extinct. Far from being a pointless satire of such dead forms, Star Wars satisfies a deep (might I even say repressed?) longing to experience them again: it is a complex object in which on some first level children and adolescents can take the adventures straight, while the adult public is able to gratify a deeper and more properly nostalgic desire to return to that older period and to live its strange old aesthetic artefacts through once again. This film is thus metonymically a historicalor nostalgia film. Unlike American Graffiti, it does not reinvent a picture of the past in its lived totality; rather, by reinventing the feel and shape of characteristic art objects of an older period (the serials), it seeks to reawaken a sense of the past associated with those objects. Raiders of the Lost Ark (1981), meanwhile, occupies an intermediary position here: on some level it is about the 1930s and 1940s, but in reality it too conveys that period metonymically through its own characteristic adventure stories (which are no longer ours).

Now let me discuss another anomaly which may take us further towards understanding nostalgia film in particular and pastiche generally. This one involves a recent film called Body Heat (Lawrence Kasdan, 1981), which, as has abundantly been pointed out by the critics, is a kind of distant remake of Double Indemnity (1944). (The allusive and elusive plagiarism of older plots is, of course, also a feature of pastiche.) Now Body Heat is technically not a nostalgia film, since it takes place in a contemporary setting, in a little Florida village near Miami. On the other hand, this technical contemporaneity is most ambiguous indeed: the credits - always our first cue - are alllettered in a 1930s Art-Deco style which cannot but trigger nostalgic reactions (first to Chinatown, no doubt, and then beyond it to some more historical referent). Then the very style of the hero hirnself is ambiguous: William Hurt is a new star but has nothing of the distinctive style of ~he preceding generation of male superstars like Steve McQueen or Jack Nicholson, or rather, his persona here is a kind of mix of their characteristics with an older role of the type generally associated with Clark Gable. So here too there is a faintly archaic feel to all this. This spectator begins to wonder why this story, which could have been situated anywhere, is set in a small Florida town, in spite of its contemporary reference. One begins to realize after a while that the small town setting has a crucial strategic function: it allows the film to do. without most of the signals and references which we might associate with the contemporary world, with consumer society - the appliances and artefacts, the high rises, the object world of late capitalism. Technically, then, its objects (its cars, for instance) are 1980s products, but everything in the film conspires to blur that immediate contemporary reference and to make it possible to receive this too as nostalgia work - as a narrative set in some indefinable nostalgic past, an eternal 1930s, say, beyond history. It seems to me exceedingly symptomatic to find the very style of nostalgia films invading and colonizing even those movies today which have contemporary settings, as though, for some reason, we were unable today to focus our own present, as though we had become incapable of achieving aesthetic representations of our own current experience. But if that is so, then it is a terrible indictment of consumer capitalism itself - or, at the very least, an alarming and pathological symptom of a society that has become incapable of dealing with time and history.

So now we come back to the question of why nostalgia film or pastiche is to be considered different from the older historical novel or film. I should also include in this discussion the major literary example of all this, to my mind: the novels of E. L. Doctorow - Ragtime, with its turn-of-the-century atmosphere, and Loon Lake, for the most part about our 1930s. But these are, in myopinion, historical novels in appearance only. Doctorow is a serious artist and one of the few genuinely left or radical novelists at work today. It is no disservice to him, however, to suggest that his narratives do not represent our historical past so much as they represent our ideas or cultural stereotypes about that past. Cultural production has been driven back inside the mind, within the monadic subject: it can no longer look directly out of its eyes at the real world for the referent but must, as in Plato's cave, trace its mental images of the world on its confining walls. If there is any realism left here, it is a 'realism' which springs from the shock of grasping that confinement and of realizing that, for whatever peculiar reasons, we seem condemned to seek the historical past through our own pop images and stereotypes about the past, which itself remains forever out of reach.

Postmodemism and the City
Now, before I try to offer a somewhat more positive conclusion, I want to sketch the analysis of a full-blown postmodern building - a work which is in many ways uncharacteristic of that postmodern architecture whose principal names are Robert Venturi, Charles Moore, Michael Graves and more recently Frank Gehry, but which to my mind offers some very striking lessons about the originality of postmodernist space. Let me amplify the figure which has run through the preceding remarks, and make it even more explicit: I am proposing the notion that we are here in the presence of something like a mutation in built space itself. My implication is that we ourselves, the human subjects who happen into this new space, have not kept pace with that evolution; there has been a mutation in the object, unaccompanied as yet by any equivalent mutation in the subject; we do not yet possess the perceptual equipment to match this new hyperspace, as I will call it, in part because our perceptual habits were formed in that older kind of space I have called the space of high modernism. The newer architecture - like many of the other cultural products I have evoked in the preceding remarks - therefore stands as something like an imperative to grow new organs to expand our sensoria and our bodies to some new, as yet unimaginable, perhaps ultimately impossible, dimensions.

The Bonaventure Hotel
The building whose features I will enumerate here is the Westin Bonaventure Hotel, built in the new Los Angeles downtown by the architect and developer John Portman, whose other works include the various Hyatt Regencies, the Peachtree Center in Atlanta, and the Renaissance Center in Detroit. I must mention the populist aspect of the rhetorical defence of postmodernism against the elite (and utopian) austerities of the great architectural modernisms: it is generally affirmed that these newer buildings are popular works on the one hand; and that they respect the vernacular of the American city fabric on the other. That is to say that they no longer attempt, as did the masterworks and monuments of high modernism, to insert a different, distinct, an elevated, a new utopian language into the tawdry and commercial sign-system of the surrounding city, but on the contrary , seek to speak that very language, using its lexicon and syntax, that has been emblematically 'learned from Las Vegas'.

On the first of these counts, Portman's Bonaventure fully confirms the claim: it is a popular building, visited with enthusiasm by locals and tourists alike (although Portman's other buildings are even more successful in this respect). The populist insertion into the city fabric is, however, another matter, and it is with this that we will begin. There are three entrances to the Bonaventure: one from Figueroa, and the other two by way of elevated gardens on the other side of the hotel, which is built into the remaining slope of the former Beacon HilI. None of these is anything like the old hotel marquee, or the monumental porte-cochere with which the sumptuous buildings pf yesteryear were wont to stage your passage from city street to the older interior. The entryways of the Bonaventure are, as it were, lateral and rather backdoor affairs: the gardens in the back admit you to the sixth floor of the towers, and even there you must walk down one flight to find the elevator by which you gain access to the lobby. Meanwhile, w hat one is still tempted to think of as the front entry, on Figueroa, admits you, baggage and all, onto the second-storey balcony, from which you must take an escalator down to the main registration desk. More about these elevators and escalators in a moment. What I first want to suggest about these curiously unmarked ways-in is that they seem to have been imposed by some new category of closure governing the inner space of the hotel itself {and this over and above the material constraints under which Portman had to work). I believe that, with a certain number of other characteristic postmodern buildings, such as the Beaubourg in Paris, or the Eaton Center in Toronto, the Bonaventure aspires to being a total space, a complete world, a kind of miniature city {and I would wanr to add that to this new total space corresponds a new collective practice, a new mode in which individuals move and congregate, something like the practice of a new and historically original kind of hyper-crowd). In this sense, then, the mini-city of Portman's Bonaventure ideally ought not to have entrances at all {since the entryway is always the seam that links the building to the rest of the city that surrounds it), for it does not wish to be a part of the city, but rather its equivalent and its replacement or substitute. That is, however, obviously not possible or practical, hence the deliberate downplaying and reduction of the entrance function to its bare minimum. But this disjunction from the surrounding city is very different from that of the great monuments of the International Style: there, the ac t of disjunction was violent, visible and had a very real symbolic significance - as in Le Corbusier's great pilotis, whose gesture radically separates the new utopian space of the modern from the degraded and fallen city fabric, which it thereby explicitly repudiates (although the gamble of the modern was that this new utopian space, in the virulence of its Novum, would fan out and transform that eventually by the power of its new spatial language). The Bonaventure, however, is content to 'let the fallen city fabric continue to be in its being' (to parody Heidegger); no further effects - no larger protopolitical utopian transformation - are either expected or desired.

This diagnosis is, to my mind, confirmed by the great reflective glass skin of the Bonaventure, whose function might first be interpreted as developing a thematics of reproductive technology. Now, on a second reading, one would want to stress the way in which the glass skin repels the city outside; a repulsion for which we have analogies in those reflective sunglasses which make it impossible for your interlocutor to see your own eyes and thereby achieve a certain aggressivity towards and power over the Other. In a similar way, the glass skin achieves a peculiar and placeless dissociation of the Bonaventure from its neighbourhood: it is not even an exterior, inasmuch as when you seek to look at the hotel's outer walls you cannot see the hotel itself, but only the distorted images of everything that surrounds it.

Now I want to say a few words about escalators and elevators. Given their very real pleasures in Portman's architecture - particularly these last, which the artist has termed 'gigantic kinetic sculptures' and which certainly account for much of the spectacle and the excitement of the hotel interior, especially in the Hyatts, where like great Japanese lanterns or gondolas they ceaselessly rise and fall - and given such a deliberate marking and foregrounding in their own right, I believe one has to see such 'people movers' (Portman's own term, adapted from Disney) as something a little more meaningful than mere functions and engineering components. We know in any case that recent architectural theory has begun to borrow from narrative analysis in other fields, and to attempt to see our physical trajectories through such buildings as virtual narratives or stories, as dynamic paths and narrative paradigms which we as visitors are asked to fulfil and to complete with our own bodies and movements. In the Bonaventure, however, we find a dialectical heightening of this process. It seems to me that not only do the escalators and elevators here henceforth replace movement, but also and above all designate themselves as new reflexive signs and emblems of movement proper (something which will become evident when we come to the whole question of what remains of older forms of movement in this building, most notably walking itself). Here the narrative stroll has been underscored, symbolized, reified and replaced by a transportation machine which becomes the allegorical signifier of that older promenade we are no longer allowed to conduct on our own. This is a dialectical intensification of the autoreferentiality of all modern culture, which tends to turn upon itself and designate its own cultural production as its content.

I am more at a loss when it comes to conveying the thing itself, the experience of space. you undergo when you step off such allegorical devices into the lobby or atrium, with its great central column, surrounded by a miniature lake, the whole positioned between the four symmetrical residential towers with their elevators, and surrounded by rising balconies capped by a kind of greenhouse roof at the sixth level. I am tempted to say that such space makes it impossible for us to use the language of volume or volumes any longer, since these last are impossible to seize. Hanging streamers indeed suffuse this empty space in such a way as to distract systematically and deliberately from whatever form it might be supposed to have; while a constant busyness gives the feeling that emptiness is here absolutely packed, that it is an element within which you yourself are immersed, without any of that distance that formerly enabled the perception of perspective or volume. You are in this hyperspace up to your eyes and your body; and if it seemed to you before that the suppression of depth observable in postmodern painting or literature would necessarily be difficult to achieve in architecture itself, perhaps you may now be willing to see this bewildering immersion as its formal equivalent in the new medium.

Yet escalator and elevator are also, in this context, dialectical opposites; and we may suggest that the glorious movement of the elevator gondolas is also a dialectical compensation for this filled space of the atrium - it gives us the chance of a radically different, but complementary, spatial experience: that of rapidly shooting up through the ceiling and outside, along one of the four symmetrical towers, with the referent, Los Angeles itself, spread out breathtakingly and even alarmingly before us. But even this vertical movement is contained: the elevator lifts you to one of those revolving cocktaillounges, in which you, seated, are again passively rotated about and offered a contemplative spectacle of the city itself, now transformed into its own images by the glass windows through which you view it.

Let me quickly conclude all this by returning to the central space of the lobby itself {with the passing observation that the hotel rooms are visibly marginalized: the corridors in the residential sections are low-ceilinged and dark, most depressingly functional indeed, while one understands that the rooms - frequently redecorated - are in the worst taste). The descent is dramatic enough, plummeting back down through the roof to splash down in the lake; w hat happens when you get there is something else, which I can only try to characterize as milling confusion, something like the vengeance this space takes on those who still seek to walk through it. Given the absolute symmetry of the four towers, it is quite impossible to get your bearings in this lobby; recently, colour coding and directional signals have been added in a pitiful, rather desperate and revealing attempt to restore the co-ordinates of an older space. I will take as the most dramatic practical result of this spatial mutation the notorious dilemma of the shopkeepers on the various balconies: it has been obvious, since the very opening of the hotel in 1977, that nobody could ever find any of these stores, and even if you located the appropriate boutique, you would be most unlikely to be as fortunate a second time; as a consequence, the commercial tenants are in despair and all the merchandise is marked down to bargain prices. When you recall that Portman is a businessman as weIl as an architect, and a millionaire developer, an artist who is at one and the same time a capitalist in his own right, you cannot but feel that here too something of a 'return of the repressed' is involved.

So I come finally to my principal point here, that this latest mutation in space - postmodern hyperspace - has finally succeeded in transcending the capacities of the individual human body to locate itself, to organize its immediate surroundings perceptually, and to map cognitively its position in a mappable external world. And I have already suggested that this alarming disjunction between the body and its built environment - which is to the initial bewilderment of the older modernism as the velocities of spacecraft are to those of the automobile - can itself stand as the symbol and analogue of that even sharper dilemma, which is the incapacity of our minds, at least at present, to map the great global, multinational and decentred communicational network in which we find ourselves caught as individual subjects.

The New Machine
But as I am anxious that Portman's space not be perceived as something either exceptionaI or seemingly marginalized and leisure-specialized on the order of Disneyland, I would like in passing to juxtapose this complacent and entertaining (although bewildering) leisure-time space with its analogue in a very different area, namely the space of postmodern warfare, in particular as Michael Herr evokes it in his great book on the experience of Vietnam, Dispatches. The extraordinary linguistic innovations of this work may be considered postmodern in the eclectic way in which its language impersonally fuses a whole range of contemporary collective idiolects, most notably rock language and black language, but the fusion is dictated by problems of content. This first terrible postmodernist war cannot be recounted in any of the traditional paradigms of the war novel or movie - indeed, that breakdown of all previous narrative paradigms is, along with the breakdown of any shared language through which a veteran might convey such experience, among the principal subjects of the book and may be said to open up the place of a whole new reflexivity. Benjamin's account of Baudelaire, and of the emergence of modernism from a new experience of city technology which transcends all the older habits of bodily perception, is both singular I y relevant here and singular I y antiquated, in the light of this new and virtually unimaginable quantum leap in technological alienation:
He was a moving-target-survivor subscriber, a true child of the war, because except for the rare times when you were pinned or stranded the system was geared to keep you mobile, if that was w hat you thought you wanted. As a technique for staying alive it seemed to make as much sense as anything, given naturally that you were there to begin with and wanted to see it close; it started out sound and straight but it formed a cone as it progressed, because the more you moved the more you saw, the more you saw the more besides death and mutilation you risked, and the more you risked of that the more you would have to let go of one day as a 'survivor'. Some of us moved around the war like crazy people until we couldn't see which way the run was taking us anymore, only the war all over its surface with occasional, unexpected penetration. As long as we could have choppers like taxis it took real exhaustion or depression near shock or a dozen pipes of opium to keep us even apparently quiet, we'd still be running around inside our skins like something was after us, ha, ha, La Vida Loca. In the months after I got back the hundreds of helicopters I'd flown in began to draw together until they'd formed a collective meta-chopper, and in my mind it was the sexiest thing going; saver-destroyer, provider-waster, right hand-Ieft hand, nimble, fluent, canny and human; hot steel, grease, jungle-saturated canvas webbing, sweat cooling and warming up again, cassette rock and roll in one ear and door-gun fire in the other, fuel, heat, vitality and death, death itself, hardly an intruder.2
In this new machine, which does not, like the older modernist machinery of the locomotive or the airplane, represent motion, but which can only be represented in motion, something of the mystery of the new postmodernist space is concentrated.

The Aesthetic of Consumer Society
Now I must try , in conclusion, to characterize the relationship of cultural production of this kind to sociallife in this country today. This will also be the moment to address the principal objection to concepts of postmodernism of the type I have sketched here: namely that all the features we have enumerated are not new at all but abundandy characterized modernism proper or w hat I call high modernism. Was not Thomas Mann - after all, interested in the idea of pastiche, and is not 'The Oxen of the Sun' chapter of Ulysses its most obvious realization? Can Flaubert, Mallarme and Gertrude Stein not be included in an account of postmodernist temporality? What is so new about all of this? Do we really need the concept of postmodernism?

One kind of answer to this question would raise the whole issue of periodization and of how a historian (literary or other) posits a radical break between two henceforth distinct periods. I must limit myself to the suggestion that raqical breaks between periods do not generally involve complete changes of content but rather the restructuring of a certain number of elements already given: features that in an earlier period or system were subordinate now become dominant, and features that had been dominant again become secondary .In this sense, everything we have described here can be found in earlier periods and most notably within modernism proper. My point is that until the present day those things have beeh secondary or minor features of modernist art, marginal rather than central, and that we have something new when they become the central features of cultural production.

But I can argue this more concretely by turning to the relationship between cultural production and sociallife generally. The older or classical modernism was an oppositional art; it emerged within the business society of the gilded age as scandalous and offensive to the middle-class public - ugly, dissonant, bohemian, sexually shocking. It was something to make fun of (when the police were not called in to seize the books or close the exhibitions): an offence to good taste and to common sense, or, as Freud and Marcuse would have put it, a provocative challenge to the reigning reality - and performance - principles of early twentieth-century middle-class society .Modernism in general did not go well with overstuffed Victorian furniture, with Victorian moral taboos, or with the conventions of polite society .This is to say that whatever the explicit political content of the great high modernisms, the latter were always in some mostly implicit ways dangerous and explosive, subversive within the established order.

If then we suddenly return to the present day, we can measure the immensity of the cultural changes that have taken place. Not only are Joyce and Picasso no longer weird and repulsive, they have become classics and now look rather realistic to us.

Meanwhile, there is very little in either the form or the content of contemporary art that contemporary society finds intolerable and scandalous. The most offensive forms of this art - punk rock, say, or what is called sexually explicit material - are all taken in its stride by society , and they are commercially successful, unlike the productions of the older high modernism. But this means that even if contemporary art has all the same formal features as the older modernism, it has still shifted its position fundamentally within our culture. For one thing, commodity production and in particular our clothing, furniture, buildings and other artefacts are now intimately tied in with styling changes which derive from artistic experimentation; our advertising, for example, is fed by modernism in all the arts and inconceivable without. For another, the classics of high modernism are now part of the so-called canon and are taught in schools and universities - which at once empties them of any of their older subversive power. Indeed, one way of marking the break between the periods and of dating the emergence of postmodernism is precisely to be found there: at the moment (the early 1960s, one would think) in which the position of high modernism and its dominant aesthetics become established in the academy and are henceforth felt to be academic by a whole new generation of poets, painters and musicians.

But one can also come at the break from the other side, and describe it in terms of periods of recent social life. As I have suggested, Marxists and non-Marxists alike have come around to the general feeling that at some point following World War Two a new kind of society began to emerge (variously described as post-industrial society , multinational capitalism, consumer society, media society and so forth). New types of consumption; planned obsolescence; an ever more rapid rhythm of fashion and styling changes; the penetration of advertising, television and the media generally to a hitherto unparalleled degree throughout society; the replacement of the old tension between city and country , centre and province, by the suburb and by universal standardization; the growth of the great networks of superhighways and the arrival of automobile culture - these are some of the features which would seem to mark a radical break with that older pre-war society in which high modernism was still an underground force.

I believe that the emergence of postmodernism is closely related to the emergence of this new moment of late consumer or multinational capitalism. I believe also that its formal features in many ways express the deeper logic of this particular social system. I will only be able, however, to show this for one major theme: namely the disappearance of a sense of history, the way in which our entire contemporary social system has little by little begun to lose its capacity to retain its own past, has begun to live in a perpetual present and in a perpetual change that obliterates traditions of the kind which all earlier social information have had, in one way or another, to preserve. Think only of the media exhaustion of news: of how Nixon and, even more so, Kennedy, are figures from a now distant past. One is tempted to say that the very function of the news media is to relegate such recent historical experiences as rapidly as possible into the past. The informational function of the media would thus be to help us forget, to serve as the very agents and mechanisms for our historical amnesia.

But in that case the two features of postmodernism on which I have dwelt here - the transformation of reality into images, the fragmentation of time into a series of perpetual presents - are both extraordinarily consonant with this process. My own conclusion here must take the form of a question about the critical value of the newer art. There is some agreement that the older modernism functioned against its society in ways which are variously described as critical, negative, contestatory, subversive, oppositional and the like. Can anything of the sort be affirmed about postmodernism and its social moment? We have seen that there is a way in which postmodernism replicates or reproduces - reinforces - the logic of consumer capitalism; the more significant question is whether there is also a way in which it resists that logic. But that is a question we must leave open.

1 Wayne C. Booth: The Rhetoric of Irony (Chicago 1975)

2 Michael Herr, Dispatches (New York, 1977), pp.8-9.

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